Georgia has long been an obvious choice for hosting most Track II initiatives that bring Armenians and Azerbaijanis together on neutral ground. Despite this, however, it rarely gets the credit it deserves for doing so. Bordering both Armenia and Azerbaijan, not only is it perfectly situated geographically, keeping travel and accommodation costs lower, but it also keeps such initiatives in the region.
Nestled within the lush green landscapes of Georgia’s Kvemo Kartli region, the municipality of Gardabani is home to many from the country’s largest ethnic minority: Azerbaijanis. Here, despite concerns of dwindling numbers, the age-old Turkic tradition of wandering minstrels has continued. Known as ashiqs, these troubadours are skilled in the art of performing poetry over music, usually performed on the saz, a stringed instrument resembling a long-necked lute.
Georgian-Armenian artist, poet, and puppeteer, Armen Hovhannisyan, uses his puppet shows to unite the Armenian, Azerbaijani, and Georgian communities living in the multicultural municipality of Marneuli, Georgia.
A lively crowd of passionate fans eagerly gathered outside Elektrowerk, a repurposed Soviet-era factory in Tbilisi’s Isani district, last weekend. They were here to see[ME1] punk legends, The Exploited who had come from delivering electrifying shows in Yerevan and Istanbul just days earlier. Now they were bringing raw energy, rebellious spirit, and a dose of punk-infused chaos, to the Georgian capital.
“As movement towards an agreement between Armenia and Azerbaijan gathers momentum, a multi-track approach needs to emerge in order to make any peace more sustainable,” writes Onnik James Krikorian for commonspace.eu. “Governments, local communities, and the non-governmental sector should be partners and not rivals.”
The Caspian Post has published my article, accompanied by photographs, on the influx of alternative Russian musicians to Tbilisi following Putin’s further invasion of Ukraine last year. It’s a continuation of my work on the underground rock, metal, and punk scene in all three countries of the South Caucasus since 2001 and especially my personal project, Tbilisi Underground. The punk scene in Georgia, incidentally, has always been unique, but the arrival of often political bands from Russia and beyond has arguably diversified and reinvigorated it.
The Caspian Post has published my story accompanied by photographs of the Beez Children’s Theatre. I remember them from just after the pandemic and always wanted to do a story on the troupe. I’ve spent a long time covering minority communities in the region – from the Yezidis in Armenia to the ethnic Armenian and Azerbaijani communities here in Georgia. At some point I must post more of this work that I’ve undertaken since 1998.
If there’s one thing Georgians have a habit of doing above all else it’s protesting – and last week was no exception. Public outrage at the passing of controversial legislation on ‘foreign agents’ saw thousands take to the streets outside the parliament building on Tbilisi’s main thoroughfare, Rustaveli Avenue.
Since the beginning of January I’ve been contributing to MediaChecker, a Georgian language media and digital literacy platform in Tbilisi run by a very capable team of local journalists under editor-in-chief George Gogua, a media professional that I’ve known for over 10 years now. Its mission statement is below.